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Seltene Relief-Plakette, Meissen, 2002, 1. W., Bisquit-Tondo mit vielfiguriger, an Dali erinnernder Szene im Relief, verso unleserlich signiert, dat. u. num. (Ex. 41/49), blau, rot u. gold staffiert, Ø 5 cm

6 Dali-Fliesen ''la suite Catalane'', Spanien Mitte 20. Jh., mit Original-Holzkiste. Maße Fliesen je 20 x 20 cm

6 Dali-Fliesen ''la suite Catalane'', Spanien Mitte 20. Jh., mit Original-Holzkiste. Maße Fliesen je 20 x 20 cm

Salvador Dali (1904-1989), nach, Serigrafie auf marmoriertem, leichtem Karton, u. re. im Druck bez., verso bez. ''Certificado de Autenticidad (...) Art world collection 1999, num. 21/50 (...)'', gerollt, Blattmaße ca. 70 x 50 cm

Salvador Dali (1904-1989), Farbholzschnitt aus der Folge zu Dante ''Die göttliche Komödie'', u. re. handsign., u. li. num. 23/150, 26 x 17 cm, hinter Glas u. Pp. ger. 52 x 39 cm

Salvador Dali (1904-1989), Farbholzschnitt aus der Folge zu Dante ''Die göttliche Komödie'', u. re. handsign., als Ex. E.A. bez., 26 x 18 cm, hinter Glas u. Pp. ger. 52 x 39 cm

Salvador Dali (1904-1989) - Lincoln - A vintage print poster depicting surrealist Abraham Lincoln, signed in plate. To verso, numbered 34 Lincoln. Poster appearing to have been trimmed. Measures approx. 51cm x 38cm.

After Salvador Dali (1904-1989)Female torsoSigned and inscribed épreuve d'artiste, etching, 38cm by 28.5cm

Salvador Dali. 1904 - 1989. 'Rhinocéros' In Spitzen gekleidetes Rhinozeros. Posthumer Gruß von 1997. Gießerstempel Araindor. Bezeichnet Salvador Dali. Bronze mit Teilvergoldung. 12 x 16,2 x 9 cm

Salvador Dali. 1904 - Figueras - 1989. Farbxylographie aus 'La Divine Comedie 1960'. 25. Gesang: Der Hl. Jakob und die Hoffnung. Im Druck sign. Handsign. E.A. 33 x 26 cm. Gl.u.R

Salvador Dali. 1904 - Figueras - 1989. Farbxylographie aus 'La Divine Comedie 1960'. 14. Gesang: Ein Geist befragt Dante. Im Druck sign. Handsign. u.E.A. 33 x 26 cm. Gl.u.R

Salvador DALI (1904 -1989) Les animaux malades, 1974 Eau-forte et aquatinte sur papier BFK Rives Dimensions : 57 x 76 cm Signée en bas à droite Edition hors commerce sur 6 exemplaires “Réservée pour Monsieur Nervet” (ancien coloriste de Salvador Dali) Provenance : anciennement collection de Monsieur Nervet - Neuilly-sur-Seine (92)

Patrick RUBINSTEIN (Né en 1960) Ocelot (Salvador Dali) Assemblage de lamelles de papier découpées sur panneau à effet cinétique. Signé en bas à droite. Oeuvre unique. 113 x 113 cm Un certificat d’authenticité accompagne l’œuvre.

Salvador DALI (1904 -1989) Téléphone désincarné, 1975 Eau-forte et aquatinte sur papier BFK Rives Dimensions : 57 x 76 cm Signée en bas à droite Edition hors commerce sur 6 exemplaires “Réservée pour Monsieur Nervet” (ancien coloriste de Salvador Dali) Provenance : anciennement collection de Monsieur Nervet - Neuilly-sur-Seine (92)

Salvador DALI (1904 -1989) Sans titre, 1975. Eau-forte et aquatinte sur papier BFK Rives. Dimensions : 57 x 76 cm. Signée en bas à droite. Edition hors commerce sur 6 exemplaires “Réservée pour Monsieur Nervet” (ancien coloriste de Salvador Dali). Provenance : anciennement collection de Monsieur Nervet - Neuilly-sur-Seine (92).

Salvador DALI (1904 -1989) L’oiseau, 1975. Eau-forte et aquatinte sur papier BFK Rives. Dimensions : 57 x 76 cm. Signée en bas à droite. Edition hors commerce sur 6 exemplaires “Réservée pour Monsieur Nervet” (ancien coloriste de Salvador Dali). Provenance : anciennement collection de Monsieur Nervet - Neuilly-sur-Seine (92)

Miscellaneous items inc. Marvel comics, Salvador Dali wine bottle etc

SALVADOR DALÍ (1904-1989)Études pour le tableau Visage Paranoïaque (recto-verso) signé et daté 'Autentique Salvador Dali le 29 décembre 1974' (en bas à droite) ; signé et daté 'Autentique Salvador Dali le 29 décembre 1974' (au revers)crayon sur page de carnet de croquisExécuté circa 1935signed and dated 'Autentique Salvador Dali le 29 décembre 1974' (lower right) ; signé et daté 'Autentique Salvador Dali le 29 décembre 1974 (on reverse)pencil on paper, sketchbook sheetExecuted circa 193527 x 21 cm.10 5/8 x 8 1/4 in.Footnotes:L'authenticité de cette œuvre a été confirmée par Monsieur Nicolas Descharnes.ProvenanceCollection Paul Eluard.Collection Georges Hugnet, Paris, 1941.Vente, Christie's, Londres, 5 juillet 1974, lot 392.Collection particulière, Paris.Acquis auprès de celle-ci par le propriétaire actuel.ExpositionsNew York, Museum of Modern Art, Fantastic Art dada Surrealism, 1936. New York, Guggenheim Museum, Surrealism : two private eyes, 1999.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

ANDRÉ BRETON (1896-1966)Ensemble de 4 livres La Lampe dans l'horlogeEdition originale, tirage de tête, un des 350 exemplaires sur vélin d'Arches no 243, avec la seconde épreuve du frontispice en mauve et signé dans la planche.Illustrée d'une lithographie non signée de TOYEN en frontispice et d'une photographie d'André Breton dans le parc du château de la Coste.Edition non coupéeParis, Edition Robert Marin, 1948, collection L'Age d'homme.First edition, first printing, one of 350 copies on Arches vellum no 243, with the second proof of the frontispiece in mauve and signed in the plate.Illustrated with an unsigned lithograph by TOYEN as frontispiece and a photograph of André Breton in the park of the Château de la Coste.Unopened editionParis, Edition Robert Marin, 1948, collection L'Age d'homme.Ode A Charles FourierEdition originale, sur vélin, non numérotéeIllustrée de 21 compositions de Frederick Kiesler, dont deux en couvertureAchevé d'imprimer du 1er février 1947Paris, Éditions de la Revue Fontaine, collection « L'Age d'or », 1947First edition, on vellum, not numberedIllustrated with 21 compositions by Frederick Kiesler, including two on the coverApproved for printing on 1st February 1947Paris, Éditions de la Revue Fontaine, 'L'Age d'or' collection, 1947Notes Sur La PoésieEdition originale, non numérotéeIllustrée d'un dessin de Salvador Dali en reproductionParis, Editions GLM, 1936First edition, not numberedIllustrated with a reproduction drawing by Salvador DaliParis, Editions GLM, 1936ANDRÉ BRETON et PAUL ELUARD Les Vases CommunicantsEdition originale non numérotée, couverture illustrée par Max ErnstAchevé d'imprimer du 26 novembre 1932Paris, Edition des Cahiers Libres, 1932Unnumbered first edition, cover illustrated by Max ErnstApproved for printing on 26 November 1932Paris, Edition des Cahiers Libres, 1932Footnotes:ProvenanceCollection particulière, Paris.Collection particulière, Paris (par descendance).This lot is subject to the following lot symbols: ## A reduced TVA rate of 5.5% will be charged on Buyer's Premium. This is subject to government change and the rate payable will be the rate in force on the date of the sale.Pour les livres, la commission acheteur est soumise à un taux de TVA réduit de 5,5 %. Ce taux est susceptible à être modifié par les autorités françaises et le taux à payer sera celui en vigueur à la date de la vente.For further information on this lot please visit Bonhams.com

YVAN GOLL (1891-1950), CLAIRE GOLL (1890-1977)Ensemble de 10 livres, du fondateur de la revue Surréalisme Le Microbe de l'OrEdition originale, un des 50 exemplaires sur papier pur fil Lafuma (n°23), seul grand papierExemplaire non coupéParis, Editions Emile-Paul frères, 1927First edition, one of 50 copies on Lafuma pur fil paper (n°23), the only large paper.UnopenedParis, Editions Emile-Paul frères, 1927A Bas L'EuropeEdition originale, un des 50 exemplaires sur papier pur fil Lafuma (n°13), seul grand papierExemplaire non coupéParis, Editions Emile-Paul frères, 1929First edition, one of 50 copies on Lafuma pur fil paper (n°13), the only large paper.UnopenedParis, Editions Emile-Paul frères, 1929Agnus DeiEdition originale, un des 50 exemplaires sur papier pur fil Lafuma (n°9), seul grand papierManques et déchirure à la couvertureExemplaire non coupéParis, Editions Emile-Paul frères, 1929First edition, one of 50 copies on Lafuma pur fil paper (n°9), the only large paper.Cover missing and tornUnopenedParis, Editions Emile-Paul frères, 1929Sodome Et BerlinEdition originale sur papier d'éditionEnvoi de l'auteur « A Bernard Zimmer, ce récit d'un cauchemar qu'il vécut aussi, en amical souvenir »Paris, Editions Emile-Paul frères, 1929First edition on publisher's paperSent by the author « A Bernard Zimmer, ce récit d'un cauchemar qu'il vécut aussi, en amical souvenir »Paris, Editions Emile-Paul frères, 1929Pariser GeorgikaIllustré par Robert DelaunayCouverture jaquette illustréeHermann Luchterhand Verlag, 1956Illustrated by Robert DelaunayIllustrated dust jacket coverHermann Luchterhand Verlag, 1956Mythus Vom Durchbrochenen FelsenIllustré par Yves TanguyCouverture cartonnéeHermann Luchterhand Verlag, 1956Illustrated by Yves TanguyHardcoverHermann Luchterhand Verlag, 1956Nouvelles Petites Fleurs de Saint Francois D'AssiseEdition originale, un des 1000 exemplaires sur vélin de Ruysscher (n°686)Illustré de dessins de Salvador DaliExemplaire non coupéParis, Editions Emile-Paul, 1958First edition, one of 1000 copies on Ruysscher vellum (n°686)Illustrated with drawings by Salvador DaliUnopenedParis, Editions Emile-Paul, 1958Les Confessions d'Un Moineau du SiècleIllustrations de Chagall, Clavé, Delaunay, Louradour, Masson, VillonExemplaire non coupéParis, editions Emile-Paul, 1963Illustrations by Chagall, Clavé, Delaunay, Louradour, Masson, VillonUnopenedParis, editions Emile-Paul, 1963L'AntirosePoèmes et couverture illustrés par Marc ChagallParis, Editions Pierre Seghers, 1965Poems and cover illustrated by Marc ChagallParis, Editions Pierre Seghers, 1965Œuvres, Vol. 1Illustré par Chagall, Foujita, Delaunay, Léger, avec un portrait de l'auteur en 1919Paris, Editions Emile-Paul, 1968Illustrated by Chagall, Foujita, Delaunay, Léger, with a portrait of the author in 1919Paris, Editions Emile-Paul, 1968Footnotes:ProvenanceCollection particulière, Paris.Collection particulière, Paris (par descendance).This lot is subject to the following lot symbols: ## A reduced TVA rate of 5.5% will be charged on Buyer's Premium. This is subject to government change and the rate payable will be the rate in force on the date of the sale.Pour les livres, la commission acheteur est soumise à un taux de TVA réduit de 5,5 %. Ce taux est susceptible à être modifié par les autorités françaises et le taux à payer sera celui en vigueur à la date de la vente.For further information on this lot please visit Bonhams.com

SALVADOR DALI (1904-1989)Le visage de Virgile signé et daté 'Dali 1950' (en bas au centre)aquarelle, gouache et encre sur papier Exécuté en 1950signed and dated 'Dali 1950' (lower centre)watercolour, gouache and ink on paperExecuted in 195043.2 x 31.8 cm.17 x 12 1/2 in. Illustration pour le Paradis, chant 10 pour l'ouvrage de Dante Aliguieri, illustré par Salvador Dali, La Divine Comedie, Joseph Foret, Les Heures Claires (1959-1963), 1951.Footnotes:L'authenticité de cette œuvre a été confirmée par Monsieur Nicolas Descharnes.ProvenanceCollection particulière, France (acquis auprès de l'éditeur Joseph Forêt au début des années 1960).Collection particulière, (par descendance).Vente, Sotheby's, Paris, 1er Juin 2016, lot 32.Acquis dans cette vente par le propriétaire actuel.This lot is subject to the following lot symbols: * AR* VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

SALVADOR DALÍ (1904-1989)L'Ange du soleil signé et daté 'Dali 1951' (en bas au centre)aquarelle, gouache et encre sur papier Exécuté en 1951signed and dated 'Dali 1951' (lower center) watercolour, gouache and ink on paper Executed in 195143.2 x 30.5 cm.17 x 12 in. Illustration pour le Paradis, chant 10 pour l'ouvrage de Dante Aliguieri, illustré par Salvador Dali, La Divine Comedie, Joseph Foret, Les Heures Claires (1959-1963), 1951.Footnotes:L'authenticité de cette œuvre a été confirmée par Monsieur Nicolas Descharnes. ProvenanceCollection particulière, France (acquis auprès de l'éditeur Joseph Forêt au début des années 1960).Collection particulière, (par descendance).Vente, Sotheby's, Paris, 1er Juin 2016, lot 32.Acquis dans cette vente par le propriétaire actuel.This lot is subject to the following lot symbols: * AR* VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

SALVADOR DALÍ (1904-1989)La plus grande beauté de Béatrice signé et daté 'Dali 1950' (en bas à droite)aquarelle, gouache et encre sur papier Exécuté en 1950signed and dated 'Dali 1950' (lower right)watercolour, gouache and ink on paper Exécuted in 195043.2 x 30.5 cm. 17 x 12 in. Illustration pour le Paradis, chant 8 pour l'ouvrage de Dante Aliguieri, illustré par Salvador Dali, La Divine Comedie, Joseph Foret, Les Heures Claires (1959-1963), 1951.Footnotes:L'authenticité de cette œuvre a été confirmée par Monsieur Nicolas Descharnes.ProvenanceCollection particulière, France (acquis auprès de l'éditeur Joseph Forêt au début des années 1960).Collection particulière, (par descendance).Vente, Sotheby's, Paris, 1er Juin 2016, lot 32.Acquis dans cette vente par le propriétaire actuel.This lot is subject to the following lot symbols: * AR* VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Approximately forty eight black and white photos to include Darwin, Abraham Lincoln, Balfar, Salvador Dali, Wallis Simpson and various others, plus one large size transparency of Marilyn Monroe, Location:

Dali Zensor Speakers, a pair of Dali Zensor bookshelf speakers s/n 3034196 R & L with leads and original booklet, very good condition untested

Salvador Dali (1904-1989)Figuratief, rechtsonder gesigneerd, genummerd 26/75, ets op papier, 25 x 20 cm.

Großes Konvolut Grafiken verschiedene Künstlerinsgesamt ca. 60 Stück, dabei unter anderem Paul Kostabi, Andy Warhol, Salvador Dali, Henry Matisse, Pablo Picasso, Jonathan Meese und andere, verschiedene Techniken und Größen, von 43 cm x 35 cm bis 120 cm x 90 cm

Ingo KIRCHNER (1930-1983)"Hommage a Dali"Grafik - Farblithografie, 52 cm x 65 cm,am Unterrand nummeriert, bezeichnet und Nachlasssignatur

Dali, Salvador (1904-1989) Farboffsetlithografie .La main de Dalí retirant un Toison d'Or en forme de nuage pour montrer à Gala l'aurore nue très, très, loin derrière le soleil. Hommage à Claude Lorrain. Unter Glas gerahmt. 60 x 80 cm.

DALI, SALVADOR (1904-1989), 'Gala', 925 Silberrelief, 20. Jh., weiblicher Rückenakt: Dalis Lebensgefährtin in Lichtquadraten stehend, sowie perfekte Illusion: Portrait Abraham Lincoln bei Zunahme der Entfernung vom Betrachter zum Bild, u. re. der Mitte signiert, HxB ca. 22x17 cm (ca. 38x33 cm mit Rahmen), Alters- und Beriebspuren. VERSO Zertifikat mit Signatur und Nummerierung '783'. Mit Rahmen vor gebräuntem und hinter transparentem Plexiglas. Teilweise Kratzspuren und Flecken. Kaufrechnung anbei.| DALI, SALVADOR (1904-1989), 'Gala', 925 silver relief, 20th century, female nude from behind: Dali's companion standing in squares of light, and perfect illusion: portrait of Abraham Lincoln increasing the distance from the viewer to the painting, signed lower right of center, hxw approx. 22x17 cm (approx. 38x33 cm with frame), signs of age and wear. VERSO certificate with signature and numbering '783'. With frame in front of browned and behind transparent plexiglass. Partial scratches and stains. Purchase invoice enclosed.

DALI, SALVADOR (1904-1989), 'Eva Spaziale', 925 Silberrelief, 20. Jh., Darstellung eines weiblichen Akts, u. re. signiert, u. re signiert, HxB ca. 24x18 cm (ca. 38x33 cm mit Rahmen), Alters- und Beriebspuren. VERSO Zertifikat mit Signatur und Nummerierung 'D/273'. Mit Rahmen vor gebräuntem und hinter transparentem Plexiglas. Tlw. Kratzspuren und Flecken. Kaufrechnung und Begleitbroschüren anbei. Zertifikat tlw. abgelöst.| DALI, SALVADOR (1904-1989), 'Eva Spaziale', 925 silver relief, 20th century, lower right signed, hxw approx. 24x18 cm (approx. 38x33 cm with frame), Signs of age and rubbing. Punctual reddish discolouration. VERSO certificate with signature and numbering 'D/129'. With frame in front of browned and behind transparent plexiglass. Partly scratch marks and stains. Purchase invoice and accompanying brochures enclosed. Certificate partly loose.

DALI, SALVADOR (1904-1989), 'Homenaje a la Filosofia', 925 Silberrelief, 20. Jh., surreale Darstellung eines weiblichen Akts auf Wolken schwebend, u. li. der Mitte signiert, HxB ca. 22x17 cm (ca. 38x33 cm mit Rahmen), Alters- und Beriebspuren. Zertifikat mit Signatur und Nummerierung 'D/322' anbei. Mit Rahmen vor gebräuntem und hinter transparentem Plexiglas. Teilweise Kratzspuren und Flecken.| DALI, SALVADOR (1904-1989), 'Homenaje a la Filosofia', 925 silver relief, 20th century, surreal depiction of a female nude floating on clouds, lower left signed, hxw approx. 22x17 cm (approx. 38x33 cm with frame). Signs of age and rubing. Certificate with signature and numbering 'D/322'. With frame in front of browned and behind transparent plexiglass. Partly scratch marks and stains.

DALI, Louis (*1905 †2001),Öl/Lw., Herbstliche Straßenszene mit Sacre Coeur/Paris, links unten sign., 22 x 27 cm, HR

DALI, Salvador (*1904 Figueres †1989 ebd),"Das Juwelenkreuz", Manuf Tobo Arte, Dalart 1980, Hilliard Collection, Entw von 1954, Ausführung von 1989, Lapislazuli- Kreuz mit Goldrahmen sowie in den Zwickeln -gloriolenstrahlen, dort 4 Rubincabochontröpfchen, Ösenanstoß mit 0,15ct Brillant, besetzt mit 17 weiteren Brillantsplittern, verso sign, bez, dat und numm 148/999, MZ, Beschau, ca 19,84gr 750er Gold total, 5,6 x 3 cm dazu orig Etui und Zertifikat

DALI, Louis (*1905 †2001),Öl/Lw., Herbstliche Straßenszene in Paris, links unten sign., 22 x 27 cm, HR

DALI, Louis (*1905 +2001),Öl/Lw., Winterliche Straßenszene in Paris, rechts unten sign., 22 x 27 cm, HR

DALI, SALVADOR (1904-1989) "La Lumiere de la Guerison" Farblithographie, Ed. G12/125, sig, HxB: 58/45 cm. Rahmen, HxB: 82/62 cm. Provenienz: Sammlerkreis für Kunst-Verband Deutscher Ärzte, Grafos Verlag.| DALI, SALVADOR (1904-1989) "La Lumiere de la Guerison" Colour lithograph, Ed. G12/125, sig, HxW: 58/45 cm. Frame, hxw: 82/62 cm. Provenance: Sammlerkreis für Kunst-Verband Deutscher Ärzte, Grafos Verlag.

DALI, SALVADOR (1904-1989), “Le centaure de créte”, 1983, Photomechanische Reproduktion Auflage 4980, Nachdruck aus der Serie Les Chevaux Daliniens“, in der Platte signiert. HxB: 56/36 cm (HxB Rahmen: 86/65 cm). Part. Altersspuren, part. Knickspuren. | DALI, SALVADOR (1904-1989), "Le centaure de créte", 1983, Photomechanical reproduction edition 4980, reprint from the series Les Chevaux Daliniens", signed in the plate. HxW: 56/36 cm, (HxW frame: 86/65 cm). Part. Traces of age, part. Traces of creasing.

DALI, SALVADOR (1904-1989), "Daphne" aus „Time Suite“, 1975/76, Farblithografie/Arches, im unteren Teil mit Bleistift handschriftlich signiert und nummeriert (LXXIII/CXXV), Herausgegeben vom Grafos-Verlag. HxB (Passepartoutausschnitt): 73/52 cm (mit Rahmen 91,5/71 cm). Altersspuren, Knickspuren.| DALI, SALVADOR (1904-1989), "Daphne" from "Time Suite", 1975/76, colour lithograph/arches, signed and numbered in pencil in the lower part (LXXIII/CXXV), published by Grafos-Verlag. HxW (mat cut-out): 73/52 cm (with frame 91.5/71 cm). Traces of age, creases.

Salvador Dali (1904-1989). Drei Lithographien mit Betenden und einer Bekränzung, je re./u./sign., mit Passepartout hi./Gl. gerahmt, 24 x 19 / 24,5 x 18 / 25,5 x 17 cm.

Salvador Dali (1904-1989). „Das goldene Zeitalter“. Farblithographie 163/900, re./u./sign., mit Passepartout hi./Gl. gerahmt, 41 x 61,5 cm. **

Salvador Dali (1904-1989). „Der alte Faust“. Handcolorierte Kaltnadelradierung E.A., mittig/u./sign., re./u. Prägestempel, ungerahmt, 35 x 24 cm. Mit Zertifikat der Galerie Spectra, Zürich.

Sculpture titled Our Historical Heritage. Bronze metal from an original wax mold by Dali, made at the Hotel des Monnaies de Paris. Certification: This piece comes with a certificate of authenticity form an independent 3rd party . numbered 15/400. Sight size 5" round

Limited edition lithograph titled 'Mark' from The Twelve Apostles also known as Knights Of Round Table portfolio. Numbered 203/350 lower left, signed in pencil lower right.Comes with certificate of authenticity attached to verso. Measures 37" x 31" including frame (without glass face), 25" x 19" image size. Artist: Salvador DaliCondition: Age related wear. Light scratches to lithograph.

Limited edition lithograph titled 'James The Lesser / Vicar Of Britain' from The Twelve Apostles also known as Knights Of Round Table portfolio. Numbered 202/350 lower left, signed in pencil lower right.Comes with certificate of authenticity attached to verso. Measures 37" x 31" including frame (and glass face), 25" x 19" image size. Artist: Salvador DaliCondition: Age related wear.

GLENN BROWN (B. 1966)The Music of the Mountains 2016 signed on a label affixed to the reverse of the backing boardIndia ink and acrylic on panel 135 by 95 cm. 53 1/8 by 37 3/8 in. This work was executed in 2016. Footnotes:This work is registered in the archives of the Glenn Brown Studio, London. ProvenanceGagosian Gallery, London Acquired directly from the above by the present ownerExhibitedFlorence, Museo Stefano Bardini, Glenn Brown: Piaceri Sconosciuti, 2017London, Gagosian Gallery, Glenn Brown: Come to Dust, 2018Guernsey, The Rona Cole Art Gallery, Guernsey Museum at Candie, 2018 - 2022, work on loan to the museumEmerging from a shimmering veil of woven, fluttering lines and threads of acrylic and ink, the timeless subject of Glenn Brown's The Music of the Mountains impresses upon us the uniqueness of his talent and the thrilling nature of his daring artistry that calls upon the benevolent gods of art history, from Da Vinci, Fragonard, Rembrandt and Boucher to John Martin, Dali, and Frank Auerbach. These apparitions don't simply appear as facsimile, however, but instead deconstruct the very humanity that comprises their historicity. Brown produces an intensified vision of painting qua painting that is captivating to behold and supremely contemporary in their notions of authorship and subject. Since his emergence in the 1990s, he has been a maverick of contemporary practice who has gone against the grain consistently, earning a Turner Prize nomination in 2000 and carving out a place amongst the most significant and lauded painters of his generation, with works in major institutions including The Art Institute of Chicago; the Centre Georges Pompidou, Paris; the Museum of Modern Art, New York; and the Walker Art Center, Minneapolis. He will further solidify his standing as one of the leading contemporary British artists with a museum dedicated to his practice and works from his personal collection, including Dutch and Italian masters, opening in Marylebone during the 2022 October Frieze week.In The Music of the Mountains, one cannot escape the elegance of Brown's virtuoso hand that lures and enthrals our gaze with its fluidity, poetry and sensitivity to form. Above all else, Brown is an artist who produces beautiful paintings. But therein lies the complexity and tragedy of his practice that makes his work some of the most challenging conceptual feats of contemporary art. Christoph Grunenberg, Director of the Kunsthalle Bremen, seized upon this essential quality, describing his art as 'one of extreme attraction – in subject matter, execution and look – yet at its heart there is darkness, a melancholic vision of death, destruction and loneliness. Belying their aesthetic perfection, masterly technical dexterity and formal integrity, Brown's paintings reveal surprising contradictions and ambiguities' (Christoph Grunenberg in Glenn Brown, London: 2009, p. 15). In this way, through The Music of the Mountains we are given access to a transcendent vision of art history that reveals fresh narratives and upends contemporary questions by placing them on a timeline that shrinks their fleeting pertinence. Here, Brown's wisps of paint and ink call upon the delicate and unsurpassed sketches of Da Vinci, blending and folding about one another to manifest a ghost-like head of a woman caught in a three-quarter glance, her eyes cast down appearing transfixed and intent. It is an arresting vision whose features evoke the playful fullness of a Boucher, yet her apparent seriousness lends an air of Judith beheading Holofernes. These epistemic questions tug at our knowledge of art history and the history of images themselves, proving an elaborate contemporary challenge to the validity of painting today. Brown thus goes beyond the reproduction of an original image; he reconstructs the composition, subjects it to distortion, and ultimately imbues it with a new sense of narrative. In his skilful handling of paint and conceptual ingenuity grounded in Postmodern critical theory, The Music of the Mountains draws us in with a timeless beauty that teeters on collapse, as exquisite and gossamer as the painted surface is. In opening his practice to the questions and tribulations of originality, Brown places himself amongst a rarefied group of artists for whom appropriation practices have defined their careers, from Marcel Duchamp, Cindy Sherman, Sherry Levine, Richard Prince, and Jeff Koons. Brown stands apart, however. His paintings leave doors open to ambiguity and revivification, not least in his titles that can appear oftentimes as banal or overly romantic, but interestingly turn to music as a source of inspiration. 'The connections between my paintings and my titles are not always obvious but they are never random,' the artist says: 'I am trying to puzzle viewers. The work is supposed to stick in their heads and make them ask why. Again, that is the base with good music; something, perhaps a sense of disharmony or miss alignment of timing, catches your attention but you often cannot articulate why. I think it is the same with a painting: it has to catch you by being enigmatic and intriguing – whether it is through colour or meaning, beauty or ugliness, a celebration of life or the devastation of death' (the artist interviewed by Rochelle Steiner in Glenn Brown, London: 2004, p. 100).In a perfectly balanced synthesis, Brown's execution is bonded to the grandeur of his ideas, which enables him to operate with an unparalleled nuance, cutting right between what the image is and what it represents. Without the masterly hand of the artist, such notions of beauty and decay, of life and death, would not uphold. As evidenced in the present work, these sumptuous swirls and painterly panache permit us to glimpse the sublime. But Brown allows darkness to creep in, where trailing threads and spirals appear to create a kind of smog, a putridity that hangs in the air of the piece. Ultimately, what the artist captures is pure affect – the remnant of an impression that casts itself back through time: 'the naked flesh of the original model may be long dead, but that just aids the imagination Fragonard, Auerbach and Rembrandt painted the living. Their flesh has become paint so I paint paint. The paint is the crusty residue left after the relationship between the artist and his model is over. It is all that there is left of real love, so I paint that' (the artist in Ibid., p. 17).Glenn Brown's The Music of the Mountains is an exemplary painting that illustrates the richness and vastness of his practice. In Brown's dextrous hand, we sense the timelessness of his subject that is conjured spirit-like before us. She hangs in the air as a vision of art that was, and art as it is now – constantly evolving, emerging, dwindling, and reconstituting. Brown continues to be one of the most exciting and talented contemporary artists, whose communion with art history's masters has surely placed him amongst them.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Dalí, Salvador (1904 Figueras 1989) "Venus Spatiale" oder "Space Venus", 1977. Zweiteiliger Bronzeguss mit malachitgrüner Patina, teils poliert. Auf Plinthe sign., Ex. 341/350, Gießerstempel "PERSEO MENDRISIO CERA PERSA", Copyrightvermerk "JEMELTON 1984". H. 63 cm. Beigegeben: Dalí Certificat d'Authenticité, ausgestellt durch Inter Art Resources Ltd. London sowie Kaufbeleg (in Kopie) der "Dali Ausstellung" Berlin von1998 über DM 28.000,-. Wvz: Robert et Nicolas Descharnes, "Dalí. Le dur et le mou. Sculptures & Objets", Paris 2003, Nr. 591, S. 233 mit ganzseitiger Farbabb.

Dalí, Salvador (1904 Figueras 1989) "L'Unicorne" oder "Unicorn", 1977. Schwarz-grün patinierter Bronzeguss, teils poliert. Auf Plinthe sign., Ex. 173/350, Gießerstempel "PERSEO MENDRISIO CERA PERSA", Copyrightvermerk "JEMELTON 1984". H. 58 cm. Beigegeben: Dalí Certificat d´Authenticité, ausgestellt durch Inter Art Resources Ltd. London und Kaufbeleg (in Kopie) der "Dali Ausstellung" Wiesbaden 1999 über DM 20.000,-. Wvz: Robert et Nicolas Descharnes, "Dalí. Le dur et le mou. Sculptures & Objets", Paris 2003, Nr. 627.

THE TWO PIGEONS, print after Salvador Dali, unframed30cm x 24cm

Künstlerteller „Triomphale“ Salvador Dali für Daum, Nancy, um 1970 Pâte de verre. Blaues Glas mit Golddekor. D. 26,5 cm. Nr. 1088/2000. In Gravur bezeichnet. (56603)

Dali, SalvadorFigueres 1904 - 1989 ebenda, spanischer Maler, Grafiker, Schriftsteller, Bildhauer und Bühnenbildner. "Mystische Begeisterung", aus der Folge "Die Fenster" 1973, unten rechts von Hand mit Bleistift sign., unten links mit Bleistift num. 72/250, Farblithographie auf Papier, HxB: 65/48 cm. Gebräunt, Randläsuren. Mit verglastem Rahmen. Lit.: Salvador Dali, Das druckgraphische Werk II, Michler und Löpsinger (Hrsg), 1995, S. 158, Nr. 1439 (mit Abb.).

AFTER SALVADOR DALI (1904-1989) Le Divine Comedie Suite, signed in colour pencil lower right, woodcut and block, 12 1/2" x 9 1/2" (SH), framed, with certificate of authenticity (2) (Est. plus 24% premium inc. VAT)Condition Report: In good condition within a glaze frame

Six framed prints, comprising After Salvador Dali Autumn Cannibalism, 50.5cm x 50.5cm, After Manet, The Piper, 59.5cm x 35cm, After Raoul Dufy, The Concert, 43cm x 54cm, After Raoul Dufy, Regatta at Cowes, 45cm x 56cm, De Rousseau Le Cascade, 40cm x 49cm, and After Jean Baptiste, Simon Jardin The Kitchen Maid, 44cm x 35cm, in white painted frames. (6)

Eight perfume bottles to include Le Roy Soleil, Dali, Femme, three various Coco Chanel 'Mariella Burani' Coty Masumi and another Ralph Lauren bottle 

Salvador Dali (1904-1989) - Untitled print, limited edition numbered CCXXXI/CCC, pencil signed to lower right margin, 48 x 34 cm Good clean condition ARR applicable

Exaequo Softwatch. Quartz movement with white dial and Roman numerals. Surrealist design inspired by Salvador Dali, on an original red leather strap, original box and paperwork, serial number 32008.Case diameter 25mm. In good original condition, minor signs of wear, untested and unable to test as a quartz movement and requires new battery. Vendor has owned from new and rarely wore the watch.

Poster SNCF ROUSSILLON by Salvador Dali issued in 1970. Metric Double Royal 620mm x 990mm. In very good condition with minor edge tears.

Dali, Salvador (1904 - 1989) "Space Venus" (1984), Bronze, Lim. Aufl. - Nr. 291/350,Zertifikat anbei, Gr. ca. H: 65 cm.

Salvador DALI (1904-1989), "Die Fälscher" (1960), Farbholzschnitt/ Xylographie auf Bütten, Bl. 29 aus dem Zyklus zu Dantes Göttlicher Komödie, 29. Gesang, Hölle, im Druck sign., Druckmaße: ca. 25 x 18 cm, Blattmaße: ca. 32,7 x 26 cm, hinter Glas im Passepartout gerahmt, Blatt leicht gebräunt, min. lichtrandig. Vgl. Michler/Löpsinger 1995, Nr. 1067.

Salvador DALI (1904-1989), Le gue du sang (Die Furt des Blutes), aus "Die Suche nach dem Gral", Kaltnadelradierung, Ed. 136 / 249, Bogenmaße: 45,3 x 32,8 cm, vgl. Michler-Löpsinger, "Le Quete du Graal" Nr. 778-789, hinter Glas gerahmt, leicht gedunkelt.